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Considers jewelery from classical lands from the early Bronze Age, about 2500 B.C., to the Late Roman period, about A.D. 400.
"The consummate mastery of Greek goldsmiths and the beauty of their designs elevated jewelry in the Classical period to glorious artistic heights. This volume presents nearly 200 of the finest surviving pieces made between the fifth and the early third century B.C., the era that also saw the creation of the Parthenon at Athens and the temple of Artemis at Ephesus, the sculptures of Polykleitos, Praxiteles, and Lysippus, and the paintings of Polygnotos, Apollodoros, Zeuxis, and Nikias." "Drawn from the unrivaled collections of the Hermitage, St. Petersburg, The Metropolitan Museum of Art, New York, and the British Museum, London, the works in this book represent jewelry produced throughout the Greek world. Regional variations and preferences are seen in jewelry from Greece itself, as well as from the wealthy Greek cities in Asia Minor, the Crimea, and South Italy and from partially Hellenized areas such as Cyprus, Egypt, and the Eastern Mediterranean. The authors describe the goldsmiths' techniques in detail, with the aid of specially taken scanning electron microphotographs, and they discuss how the jewelry was worn, its iconography, and how it relates to other arts, such as drawing and sculpture. Each piece is illustrated in full color, with numerous color details showing the intricacy and subtlety of these masterpieces of ancient Greek craftsmanship."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Who dressed as a woman in an attempt to commit adultery with Julius Caesar's wife? How did the ancient Greeks make blusher from seaweed? Just how does one wear a toga?If, as many claim, the importance of clothes lies in their detail, then this a book that no sartorially savvy Classicist should be without. Greek and Roman Dress from A to Z is an alphabetized compendium of styles and accessories that form the well-known classical image: a reference source of stitches, drapery, hairstyles, colours, fabrics and jewellery, and an analysis of the intricate system of social meanings that they comprise.The entries range in length from a few lines to a few pages and cover individual aspects of dress alongside surveys of wider topics and illuminating socio-cultural analysis, drawn from ancient art, literature and archaeology. For those who want to take their reading further, there are references to both primary sources and modern scholarship.This book is be fascinating for anyone delving into it with an interest in style and dress, and an invaluable companion for any classicist.
Greek and Roman Jewellery (1961) covers jewellery from the Classical lands from the early Bronze Age to the late Roman period, almost 3,000 years of continuous development and innovation in the craft. A full account of the technical methods of making jewellery is followed by a description, period by period, of the jewellery itself.
This book traces the development of hammering techniques in Greek, Roman and related (e.g. Graeco-Scythian) jewellery and toreutics based on the analysis of ancient tools used for manufacture of hammered metalwork, primarily punches and matrices with figural designs, and actual finds of metalwork and jewellery. The book offers essays on metalworkers' tools from Mycenean Greece until the Late Roman Period. It includes chapters on different categories of hammered metalwork in the corresponding periods and Excursus about particular matrices or punches and hoards of toreutics. Bringing together the tools of metalworkers and actual objects manufactured with them opens new perspectives on chronological and cultural attribution of ancient jewellery and toreutics and illuminates the role of mass production and artistic creativity in ancient history. The book is illustrated with 133 photographs.
00 Jewellery has a rare power to communicate, even across millennia, the feelings, beliefs, and aspirations of the people who wore it. Jewellery also contributes to the study of ancient art and metalworking techniques, for great skill was required to create what are often small-scale works of art. But the importance of surviving artifacts of the jeweller's craft--quite apart from the inherent attraction of individual pieces--is now increasing as the number of new scientific techniques available to archaeologists expands, complementing the more traditional methods of analysis. This book shows how important ancient jewellery is to interpreting the past. Jewellery has a rare power to communicate, even across millennia, the feelings, beliefs, and aspirations of the people who wore it. Jewellery also contributes to the study of ancient art and metalworking techniques, for great skill was required to create what are often small-scale works of art. But the importance of surviving artifacts of the jeweller's craft--quite apart from the inherent attraction of individual pieces--is now increasing as the number of new scientific techniques available to archaeologists expands, complementing the more traditional methods of analysis. This book shows how important ancient jewellery is to interpreting the past.
World-famous series of neoclassical illustrations depicts everything from headdresses and sandals to a warrior's armor and a priestess' robes. Clothing styles as well as helmets, chariots, musical instruments, and other objects are shown. Ideal for craftwork, this rich collection will also be valued by artists, designers, students, and enthusiasts of antiquity. 380 black-and-white illustrations.